I await your uploads with eager anticipation.
Quote from: Canar on 19 January, 2010, 10:26:01 AMI await your uploads with eager anticipation.Hmm, nearly a week later and nothing uploaded. Or is it someplace else on HA?
Basically these sound great, but I think there's something very strange in the higher frequencies on some of them. I see part of the problem is a ~15kHz tone on some of the LPs - but there's also an 18kHz resonance or harmonic or something on the first sample, and other strange (though inaudible) things on the others e.g. strong ultrasonic tones on Gremlins, weak 17kHz on Enya, etc.It could all be on the original recordings, but on the ones I can hear, it sounds weird to me. It makes my ears ring.I suspect that you're getting far more information from these LPs than was ever intended! e.g. on the Enya one, you can clearly see it was mastered from a 44.1kHz digital recording, because there's nothing above 22kHz.Apart from this(!), I think your transfers are stunningly good.EDIT: Which Algorithmix declicker did you use? Or was it mostly iZotope RX Advanced?? (Which costs more than most turntables!)Cheers,David.
I've got some samples to create and publish here too, from my ghetto-fabulous ripping set up, but first I need to purchase a breadboard to set up a proper RC loading circuit for my cartridge. The distortion is quite pronounced.Perhaps this is what is happening with your rips Cavaille? Have you adjusted for the proper RC load for your cartridge?
Here is how a proper loading circuit should look:
Credit: I shamelessly ripped that picture from here: http://www.vinylengine.com/phpBB2/viewtopic.php?t=6674 That site has more discussion about RC loading. In the diagram, ignore R1 and L1, those are simply models of the circuitry of the cart. R2 and C1 are your resistive and capacitive loads, respectively. IVm1 is just a volt meter, and if I understand correctly, that's where your output lines should be wired.
Quote from: krabapple on 15 May, 2009, 07:03:41 PMJust because the bandwidth extends to 30kHz doesn't mean it's musical information…of course CD4 quad LPs have an FM carrier signal with the demodulation info up around 34 kHz (or is it 35 kHz?).
Just because the bandwidth extends to 30kHz doesn't mean it's musical information
So, here they are.
Quote from: Cavaille on 26 January, 2010, 08:07:40 AMSo, here they are.I’d say, excellent!Only “Viva La Felicita” seemed to me a little dull. 8 kHz 6 dB boost revived it in my perception.And your efforts to achieve the final quality of the tracks were heroic. Only really precious records are worth them, I think.
The problem here is that between approx 1975 and 1979, the vast majority of record cutting plants installed digital "cutting delays" in-line between the analogue open-reel tape recorders and the cutting lathe. From what I've been told by an ex-engineer, these were originally 12-bit and 32KHz, and they added an audio delay to the tape output of several seconds. Later models (in the 80s) used higher bit depths and sample rates.These devices were installed for work saving reasons; When cutting a record, the engineer has to manually press a button which generates the "shiny space" we see between tracks on the surface of LPs. The "cutting delay" was used to give him advanced warning of the end of each track (by monitoring the live output from the tape recorder), so that he knew when to press the button.Prior to this, the engineer had to listen to the tape once-over in full and write all the timings down, before firing up the cutting equipment.So basically, all of the records you've listed have been mastered from a digital source, negating most of the potential advantages of vinyl.
Despite my having registered and logged in, these downloads do not work for me.The filenames are listed but they are not links. Am I missing something here?However, one thing I can say without playing them is that all the years you've listed for those records are post-1979.The problem here is that between approx 1975 and 1979, the vast majority of record cutting plants installed digital "cutting delays" in-line between the analogue open-reel tape recorders and the cutting lathe. From what I've been told by an ex-engineer, these were originally 12-bit and 32KHz, and they added an audio delay to the tape output of several seconds. Later models (in the 80s) used higher bit depths and sample rates....So basically, all of the records you've listed have been mastered from a digital source, negating most of the potential advantages of vinyl.
The purpose of the delay was to facilitate automated setting of groove pitch. The delay provided a "look ahead" signal that was used to increase groove pitch for loud passages beofre the louder, wider pitch groove was cut. About a half second delay would suffice.